ny arts

28 NY ARTS | www.nyartsmagazine.com

A R T I S T S AT H O M E & A B R OA D

VINCENT EDMOND LOUISEDMONDLOUIS.COM

Having pursued photography from a very young age I've con-stantly tackled various ways of pushing the boundaries of what we have come to consider traditional fine art photography. These boundaries are also explored in a variety of media includ-ing oil and acrylic, documenting a journey by simply writing on a photograph, tearing up a photo and gluing it back together to depict the passing of time and sculpting a photograph or stet-ting up an installation to create visual perspective. I search for new frontiers, traveling and discovering a variety of cultures, documenting the privileged and under privileged alike.

Courtesy of the artist.

AAHAB_Summer.indd 28 5/2/12 12:58 PM

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VINCENT MESSELIERATELIERMATTISSE.BE

I am a 100 % autodidact artist; full of love and pas-sion, painting right from my heart to the canvas. I start with a clean sheet and mind, let colors, shapes and lines lead; my compositions are mostly made with some jazz music in the background. Every painting has a reason to exist and I always find the same kind of structure back, I work with palette knives and you always find vertical and horizontal stripes in the background of my painting to correct the chaos. I call it “meridianism”.





AFRODITE PAPADOULIAFRODITEPAPADOULI.COM

My three paintings The invaders ,The mosquito and The swing all depict everyday life through some irony. In particular, The invaders provide a political comment on those who have built a house as a shelter on a place that the law does not approve of. In The mosquito, there’s a girl scratching her arm, which is just a simple act, a picture that you can see every-where in Greece during the summer. Such a picture takes me back to a period of time when I was carefree. The swing leaves parts of the canvas blank so that more emphasis is placed on the girl on the swing.

Images courtesy of the artist.


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AHMED FARID

AHMEDFARIDGALLERY.COM

I am an Egyptian abstract painter works with playful colors and fresh ideas. Starting my artistic career in 2005, my paintings capture an explosion of expressions and experiences created by brush strokes. My work has been influenced by contemporary Egyptian artists, the Italian Renaissance master, as well as the New York School. My paintings are a contemporary story of East meets West—experiences and a hid-den talent that has finally seen the light of day. Finally, my work is bold, made with col-ors that create a powerful ambiance embrac-ing the viewer. It is energetic and in a way, because of the use of various techniques, provides a sense of gesture and movement.





ALINA DITOTALINADITOT.COM

I paint our mysterious nature. We are myste-rious creatures—destroyers and creators. We are peace and chaos.



SUMMER 2012 33

LEE CLAREMONTLEECLAREMONT.COM

Rhythm of The Woodland People

Color speaks to me in an intimate language of visual whisperings and we become one in the telling of our story. The color comes naturally to me and the story reveals itself when the painting is finished...but not always. The journey is a spiritual one. There is no doubt my indig-enous worldview plays a large part within this painting. It serves as an articulation, to formulate the existence of the contemporary intermingled with the past. I invite the viewer to embrace the canvas and perhaps find his or her own stories. They may be different than mine, but we will share them in the universal bond of “the people.”





NyC ARTISTS:GLOBAL PROJECTS

Courtesy of Karisa Olsen

ALVARO JOSÉMy style in painting is characterized by an elongation and roundness of form, a purity of line, a sense of mass and a languorous at-mosphere. For me serenity and simplicity are beautiful, and in that state of quietness, even the most sterile muses seem fecund.

MARIA DEL ROSARIO I truly understand color. My shades do not attempt to capture nature, but rather sug-gest movement, rhythm to create a vibrant atmosphere, which is based on my own per-sonal vision. My paintings are an ardent wish to be outstanding.

KARISSA OLSENThe world is filled with scattered hues that seem to juxtapose naturally, creating mo-ments of vibrant beauty. Although these moments occur so frequently, they're often overlooked. My images represent the exhila-rating setting we've been fortunate enough to be given, but too busy to take in.

KIKKI GHEZZII paint places, memories and dreams. Con-sciously or subconsciously I express feel-ings, which have deeply moved me. It is so inexplicable the mysterious meaning that our mind attributes to certain objects, cer-tain aspects of life. Art is the magical net that captures those unusual moments in flight like mysterious butterflies.

MARTHA SOLORZANOI like to ambiguously blend figure and ground in my paintings while dismem-bering, re-assembling and distorting my figures in the process. I love the sensual shapes and curves of females. My strokes are like a sweet murmur in someone’s ear, like a childish giggle, and sometimes pain-ful, like a woman birthing.

ALEXANDRA COSSACKMy work has a cinematic and dreamlike feel to it, often with each image creating its own narrative. I look to films, classic pho-tographers and the beauty of this earth for inspiration to translate my perception of the world into a single image.

JOHN BATTAGLIAWWW.JOHNBATTAGLIA.NETA good photograph stimulates thought. It requires the ability to remain part of the world while staying objective, to be simul-

Courtesy of Danielle Lurie.

Courtesy of Nick Daunys.


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Courtesy of Alvaro José

Courtesy of Martha Solorzano

Courtesy of Maria Del Rosario

Courtesy of John Battaglia

taneously attached and detached. Only through intuition and intimacy can a pho-tographer define their work. My approach is to mix observation and wit to create a metaphoric narrative out of reality.

DANIELLE LURIEThe Chicks of Indis: I recently traveled to India to meet a fearless and mischievous woman named Usha whom I am writing a screenplay about. I met dozens of Indian girls –some pixie-like, others weighted with gravitas. In these girls I found Usha - and also found myself.

NICK VAN ZANTENMy paintings represent the global economy as we know it from graphs,which offer a minimal means to represent multitudes of individualevents across a great expanse of space and time. My pieces arefaithful representations of the world as we know it from graphs andabstract formal compositions.

KEVIN VASTBed-stuy Do or Die: The people of Bedford Stuyvesant have seen their neighborhood changing over the last few years. But it has not lost its authenticity and it remains one legendary part of Brooklyn. This series of portraits invites you to discover the identity of Bedstuy through the eyes of those who live there.

JUNGHWA PARKI painted carrot that wearing underwears. Compare to underwear size, carrot is much bigger than normal carrot. Some of under-wears falling down from carrot and bunny is hiding inside of underwear pile.

SU YEON IHMAs a drop of perfume evokes memories of nature, I use artificial materials like paints and plastic to open the viewers to natural phenomena. The acrylic I use is suitable for experimenting forms created by accident or manipulating on acetate. ‘Controlled and uncontrolled’ is the main concern in my work.

NICK DAUNYSThese visual textures, salvaged or de-stroyed, reflect the social and satirical themes of all my work. By juxtaposing these textures with photographic images of social and political issues, along with architectur-al elements, I recreate, in effect, a “wall in time.” I attempt to strike a balance between historical art paradigms with contempo-rary appeal and attitude.

Courtesy of Alexandra Cossack.

Courtesy of Su Yeon Ihm




Courtesy of Alexandra Cossack

Courtesy of Martha Solorzano

Courtesy of Nick Van Zanten Courtesy of Kevin Vast

Courtesy of Kikki Ghezzi


SUMMER 2012 37

ELLEN JUELLELLEN.JUELL.DINSTUDIO.NO

My works owes much to both the Impression-ists and Expressionists. Behind my work lies the basic desire to express the search for harmony and fulfillment. However, the communication of both inspiration and optimism are also the driv-ing forces behind my works. For me, the process of communication is essential since communication is the keystone in all artwork! The viewer can identify and add their own experiences to the works through that exchange. I prefer to use bold complementary colors, which gives my work “freshness.” I also work fast to add vitality to my works as well. I am in-terested and inspired mainly by the human body and facial expressions. And I use acrylic paint to make my work.





My current work explores encaustic as a vehicle for a line that is part of the surface rather than painted on the surface. By carving into and backfilling smooth, built-up panels of the beeswax medium, I obtain a direct, stamp-like simplicity. Projecting greater complexity, the built-up panels offer impressionable grounds that may receive any number of embedded representations as simultaneous information. As an artist, I am interested in competing lev-els of information—ways of representing multiplic-ity and the harmonic incoherence of mixed signals. The general malleability of wax and the crisp outlay of variously descriptive elements allow me to pose, preserve, and strategize an overall effect of accumu-lated energy. While my uses of subject matter veer between the self-evident and the enigmatic, the clustering of references is meant to promote read-ings that are less dependent on the imagery itself than on the distracted abstractions that result.

MARK MOFFETTMOFFKO.COM



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I once noticed something: what people miss most of all is their own true self-their inner feelings, their fanta-sies, their secret desires, their wild hopes and impossible dreams. So I began creating a whole new world where everyone can find themselves in mysterious places, shiny kingdoms, pink skies, yellow seas, resting majestically, laughing quietly, whimsically sad, happily floating. Every single character in my work is based on someone I know, what I see in them and where I takes them. I was born in Vienna (Austria) and grew up in Syros (a Greek island). After completing secondary education in Syros, I returned to Vienna where I pursued Graphic and Communication Design studies and at the same time started working as an illustrator. In 2010, I completed my design degree and today I work on exhibits in Austria, Germany and Greece. I am now living in Berlin working as a graphic designer and illustrator.

PHAEDRA RICHTER (AKA FEDRALITA)

FEDRALITA.NET





My art comes from spontaneous emotive inspiration. I live to breathe and create in my sacred place. I am mainly self taught. I have also sold and exhibited work. Additionally, I have been nominated for an art award and have received invitations from galleries in Europe and New York City. I took classes in watercolor and oil. My genre is Abstract-Impressionism.

PRISCILLA M. NORRISPAINTINGSILOVE.COM/ARTIST/PRISCILLAMNORRIS



SUMMER 2012 41

REMO KEIST

My latest works are a symbiosis of expressive painting and refined technique - silkscreen, combined with, layered sheets of color. Different icons from the rock and pop scene as well as greats from politics and film are excitingly and emotionally represented. The main characteristics of these creative periods are brilliant colors, reduced to 2 or 3 sound contrasts, as well as other graphic elements that match up with the subject. The abstract is always becoming more and more ap-parent, in congruence with my personal style. Even though the spectrum of my work is very large at the moment, there's always the same characteristic present in my works: a spon-taneous, powerful, and stark contrast are the forms of ex-pression, influenced by drama, strong temperament, with much attention given to materials and formal balance.

HTTP://WWW.REMOKEIST.CH/MODx/





When I start a painting it's always directly on the canvas. I feel the strongest connection to my work that way. I love the idea that the painting is both the final product and the first sketch at the same time. This is the closest way I can get to the truth. I work with the painting as in a dialogue; the canvas and myself. It's a dialogue where I try to let go of the perfect so I can set the raw line free. Most of my paintings have a over all theme. It isn't clear in the beginning but as the piece progresses, the theme be-comes apparent. My painting is never about being right or wrong but about giving me an opportunity bring awareness to certain themes and subjects.

RIKKE KIILCOROFLOT.COM/KIIL



SUMMER 2012 43

I am possessed by the notion we each are the painters, the creators, of our dreams.

Most of us share common myths and legends.

It is fascinating to realize that such images are often symbols shared by many other cul-tures new and old around the world.

The egg represents The Resurrection by Christians at Easter and has always signi-fied birth and regeneration. The Romans de-clared “Omne vivum ex ovo” (all life comes from the egg) while crocodile eggs are found in Egyptian tombs and the Greeks placed eggs on graves.

The raven, sacred to Apollo is considered a bird of omen and prophesy. In Australia many aborigines believe that a raven's cry heralds death; it is a sentiment also once held true by Romans, Greeks and Celts. This dark bird perceived to be from the Underworld, is said to guard that realm's treasure.

The owl is associated with Athene, goddess of wisdom and features in Aesop's fables while birds' nests represent structure and security.

Birds in general have always been regarded as messengers.

Monkeys depict intuition and ingenuity and it is my observation that they, together with our animal 'pets' are evolving alongside us.

Nature in all it forms is a constant source of reflection and inspiration.

SALLYAURISCH.COMSALLy AURISCH





My paintings depict the landscape with elements of uto-pia and deconstruction. This is a reflection of our con-structed landscape. My intention is to deliver my inter-pretation of the value and beauty of nature, and to touch the conscience of our brutally, broken landscape. My serigraphs are of dogs, both stray and mastered, pin pointing the wildness.

TURID KRISTIN ØVERAASROSASORGENFRI.COM



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I am a french professional Painter and I live in Paris. I was born in Angoulême in 1970. I wish I could die young... as late as pos-sible! I have always had a passion for colors and tried to use them as words to communicate. I started painting at 7. Strangely, it is the french - and later english—romantic poetry, which drove me to drawing and painting and enhanced my passion for colours.

All images courtesy of the artist.

ELIORA BOUSQUETE-BOUSQUET.COM



WINTER 2011

INTERNATIONAL ARTISTS AT HOME AND ABROAD

The Artists at Home and Abroad ex-hibition series is a representation of both emerging and established art-ists on an inter national scale. This exhibit incorporates a vast range of con temporary image making. The artists included in this exhibit explore modern and postmodern approach-es in an incredibly exciting fashion. Curated by Abraham Lubelski this exhibit presents a group of artists on the edge of contemporary art. Globalization creates unexpected relationships and contrasts in contem-porary art. This series focuses on the significance of exhibiting a variety of works in a pluralistic art world. In-spired by salon-style hanging, most commonly attributed to the Salon de Paris held during the 18th and 19th centuries; Broadway Gallery NYC continues this legacy with a contem-porary and fresh out look. Follow-

ing a trend of previous exhibitions at Broadway Gallery NYC, this show pays tribute to the format of a salon hanging. It is a tra dition that awakens contemporary culture to a dynamic col-lective consciousness. A few notable themes in this exhibit that cross cultures are romanticism, spirituality, and humanity. Part of an ongoing series, Artists at Home and Abroad reaches out to the diverse community of New York. In addition to the exhibition on dis play at Broadway Gallery NYC, are several concurrent Internet projects, and a print catalog. Further more, this exhibit offers writers and viewers an exciting opportunity to submit essays and com ments on the nature and sig-nificance of biennials, fairs and public expo sure for new and emerging artists. This exhibit uses the space as another medium altogether; incorpo-rating the maximum floor-to-ceiling

gallery space activates the wall with art works in various media by artists, each of whom offer a unique per-spective to the show. These artists have transformed the gallery walls into a compendium of generational takes on figuration, portraiture, and abstraction. Visitors will be surprised to see the stunning results. The speed of inter actions via new media allows for global artistic conversations previ ously unheard be-fore. In an attempt to integrate the nu-merous artistic languages, this exhibit was installed in a unique format. Two long parallel walls have been care fully installed to create dialogue in the spa-tial order. Artists at Home and Abroad allows the viewer access to some of the past and current pivotal artistic ideas while introducing newer tal-ent, to generate fresh creative energy through unexpected juxtapositions.

Curated by Abraham Lubelski

Joseph Zicchinella Andros Efstathiou Bierte Hee Dominique Normand Giorgio RussoJan Maliepaard Leonid Bata Musicki Manuella Muerner-Marioni Marcel Bastiaans Maria Eugenia Macvicar Natacha Kadhija Lee Claremont Anatoliy Lipkin Bernadette Kirstein Candace Hartman Marida Maccari Nykolai Aleksander Peter Koschak Rafael Kolinski Roelof Rossow Vaggelis Theodoridis Vincent Edmond Louis

Vincent Messelier Afrodite Papadouli Ahmed Farid Alina Ditot Ellen Juell Peter Cerutti Francisco Navarro Mendez Ryuhei Matsuo Alvaro José Maria Del Rosario Karissa Olsen Kikki Ghezzi Martha Solorzano Alexandra Cossack John Battaglia Danielle Lurie Nick Van Zanten Kevin VastJunghwa ParkSu Yeon Ihm Nick Daunys

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December 6-9, 2012

Miami Beach

www.artbaselmiamibeach.com


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